|
Showing 1 - 6 of
6 matches in All Departments
Theatre and Internationalization examines how internationalization
affects the processes and aesthetics of theatre, and how this art
form responds dramatically and thematically to internationalization
beyond the stage. With central examples drawn from Australia and
Germany from the 1930s to the present day, the book considers
theatre and internationalization through a range of theoretical
lenses and methodological practices, including archival research,
aviation history, theatre historiography, arts policy,
organizational theory, language analysis, academic-practitioner
insights, and literary-textual studies. While drawing attention to
the ways in which theatre and internationalization might be
contributing productively to each other and to the communities in
which they operate, it also acknowledges the limits and problematic
aspects of internationalization. Taking an unusually wide approach
to theatre, the book includes chapters by specialists in popular
commercial theatre, disability theatre, Indigenous performance,
theatre by and for refugees and other migrants, young people as
performers, opera and operetta, and spoken art theatre. An
excellent resource for academics and students of theatre and
performance studies, especially in the fields of spoken theatre,
opera and operetta studies, and migrant theatre, Theatre and
Internationalization explores how theatre shapes and is shaped by
international flows of people, funds, practices, and works.
Theatre and Internationalization examines how internationalization
affects the processes and aesthetics of theatre, and how this art
form responds dramatically and thematically to internationalization
beyond the stage. With central examples drawn from Australia and
Germany from the 1930s to the present day, the book considers
theatre and internationalization through a range of theoretical
lenses and methodological practices, including archival research,
aviation history, theatre historiography, arts policy,
organizational theory, language analysis, academic-practitioner
insights, and literary-textual studies. While drawing attention to
the ways in which theatre and internationalization might be
contributing productively to each other and to the communities in
which they operate, it also acknowledges the limits and problematic
aspects of internationalization. Taking an unusually wide approach
to theatre, the book includes chapters by specialists in popular
commercial theatre, disability theatre, Indigenous performance,
theatre by and for refugees and other migrants, young people as
performers, opera and operetta, and spoken art theatre. An
excellent resource for academics and students of theatre and
performance studies, especially in the fields of spoken theatre,
opera and operetta studies, and migrant theatre, Theatre and
Internationalization explores how theatre shapes and is shaped by
international flows of people, funds, practices, and works.
New essays exploring the tension between the versions of the past
in secret police files and the subjects' own personal memories-and
creative workings-through-of events. The communist secret police
services of Central and Eastern Europe kept detailed records not
only of their victims but also of the vast networks of informants
and collaborators upon whom their totalitarian systems depended.
Theserecords, now open to the public in many former Eastern Bloc
countries, reflect a textually mediated reality that has defined
and shaped the lives of former victims and informers, creating a
tension between official records and personal memories. Exploring
this tension between a textually and technically mediated past and
the subject/victim's reclaiming and retrospective interpretation of
that past in biography is the goal of this volume. While victims'
secret police files have often been examined as a type of
unauthorized archival life writing, the contributors to this volume
are among the first to analyze the fragmentary and sometimes
remedial nature of these biographies and to examine the
subject/victims' rewriting and remediation of them in various
creative forms. Essays focus, variously, on the files of the East
German Stasi, the Romanian Securitate (in relation to Transylvanian
Germans in Romania), andthe Hungarian State Security Agency.
Contributors: Carol Anne Costabile-Heming, Ulrike Garde, Valentina
Glajar, Yuliya Komska, Alison Lewis, Corina L. Petrescu, Annie
Ring, Aniko Szucs. Valentina Glajar is Professor of German at Texas
State University, San Marcos. Alison Lewis is Professor of German
in the School of Languages and Linguistics, The University of
Melbourne, Australia. Corina L. Petrescu is Associate Professor of
Germanat the University of Mississippi.
Theatre of Real People offers fresh perspectives on the current
fascination with putting people on stage who present aspects of
their own lives and who are not usually trained actors. After
providing a history of this mode of performance, and theoretical
frameworks for its analysis, the book focuses on work developed by
seminal practitioners at Berlin's Hebbel am Ufer (HAU) production
house. It invites the reader to explore the HAU's innovative
approach to Theatre of Real People, authenticity and cultural
diversity during the period of Matthias Lilienthal's leadership
(2003-12). Garde and Mumford also elucidate how Theatre of Real
People can create and destabilise a sense of the authentic, and
suggest how Authenticity-Effects can present new ways of perceiving
diverse and unfamiliar people. Through a detailed analysis of key
HAU productions such as Lilienthal's brainchild X-Apartments,
Mobile Academy's Blackmarket, and Rimini Protokoll's 100% City, the
book explores both the artistic agenda of an important European
theatre institution, and a crucial aspect of contemporary theatre's
social engagement.
Theatre of Real People offers fresh perspectives on the current
fascination with putting people on stage who present aspects of
their own lives and who are not usually trained actors. After
providing a history of this mode of performance, and theoretical
frameworks for its analysis, the book focuses on work developed by
seminal practitioners at Berlin's Hebbel am Ufer (HAU) production
house. It invites the reader to explore the HAU's innovative
approach to Theatre of Real People, authenticity and cultural
diversity during the period of Matthias Lilienthal's leadership
(2003-12). Garde and Mumford also elucidate how Theatre of Real
People can create and destabilise a sense of the authentic, and
suggest how Authenticity-Effects can present new ways of perceiving
diverse and unfamiliar people. Through a detailed analysis of key
HAU productions such as Lilienthal's brainchild X-Apartments,
Mobile Academy's Blackmarket, and Rimini Protokoll's 100% City, the
book explores both the artistic agenda of an important European
theatre institution, and a crucial aspect of contemporary theatre's
social engagement.
German-speaking playwrights have exercised a considerable if subtle
influence on Australian theatre history. Presenting a range of
paradigmatic case studies, this book offers a detailed account of
Australian productions of German-language drama between 1945 and
1996. The reception of Bertolt Brecht is used as a touchstone for
analysing stagings of plays by writers such as Max Frisch, Rolf
Hochhuth, Peter Handke and Franz Xaver Kroetz. In addition, more
recent developments in the reception of German drama on the
Australian stage are discussed.
|
|